The tweener girl who suffers from cerebral palsy in this movie would absolutely hate being called inspiring. In fact, she makes it abundantly clear that she loathes pity or anything like empty sympathy. Despite that, the makers of Disney Original based on Sharon M. Draper’s novel have featured her as an archetypal inspirational film character sent here by the able-bodied to show them how her condition should be treated with care and compassion. Overall, this might actually make a good teaching tool on changing medical and educational communities’ attitudes towards disabilities, but there seems to be something missing in her development which should startle readers given how sharp this feature is constructed throughout.
Before the opening credits even roll, 12-year-old Melody Brooks (Phoebe-Rae Taylor) in a frenzied scene reveals all the chaos an average day at school in 2002 can present. She evinces her funny side by using Jennifer Aniston’s voiceover as her internal narrative just because she loves that actress from “Friends.” Mom is talking to their insurance agent while tending to Penny’s needs and Dad is worrying about getting his youngest daughter to school when his neighbor Mrs. V comes for a visit. Then there are those moments where her father would lose her among other things like switching off the TV suddenly or even mistakenly accusing her of causing Oliver the pet goldfish to go down, yet she had seen him escape and was trying to save him.
For the last seven years, Melody has been stuck in a special education class and she wants nothing more than to be with other kids in the regular classes. This happens when Dr. Katherine Ray (Courtney Taylor) finds a way for her to attend history alongside the sixth graders, as well as approving her for a type and speak medi-talker unit. Even so, this newly discovered universe is not without its own set of hurdles for Melody; she gets humiliated by some popular students including Claire (Kate Moyer) and Jodie (Gabriela Francis), while Mr. Dimmings (Michael Chernus), an exclusionist teacher always creates impossible standards that she fails to meet. However, through it all, Melody’s unflagging spirit keeps her going; Rose (Maria Nash), becomes her new friend. Excelling in school motivates her every single day she looks forward to Whiz Kids trivia contest where she will try and prove herself useful.…
The movie director Amber Sealey and script writer Daniel Stiepleman do not perceive Melody as weak. Despite her lack of speech and inability to walk, the young lady has a positive attitude towards life. She is described as intelligent, especially when she wants to mention something but can’t find the right word from the list of words on the tablet that hangs around her neck; hence, she moves around pointing at different things in the house. During an assessment for a communication device Melody thinks outside the box under stress. Also, she is cunning enough to exploit others’ empathy such as Rose and herself jumping the queue at a popular mall boutique where they can try out costumes. As soon as Melody’s opportunity for personal growth comes to fruition, she will flourish with strength and power inside her soul.
On the other hand, what should be valuable character assets ironically turn into a two-edged sword. Melody doesn’t learn anything new about herself during her fights against ignorant people as she grows in an era that is not good for her. Her external circumstances are all that stand in her way: doctor abuse, corporate agents and intimidators in schools ensuring that she remains low some of which seem contrived (such as being excluded from a trivia team activity after becoming its best player). This is tear-jerking and speaks for the speechless for their fight to secure more freedom. However, I cannot help but notice that this trip of hers was on one note, more concerned with how she affects those who opt to limit her than any internal change happening within the girl as well (after all it wasn’t really necessary).
Sealey gives enough space for the actions of Melody to have as much effect as her inner discourse. This is how the character’s point of view and sense of self are beautifully portrayed: Every time she gets upset, squares on her word tablet flash onscreen, with cuts to her external body movement. Sealey and editor Jacob Craycroft display visual agility in these scenes that range from Melody rejecting her dad’s half-hearted apology to Melody trying to make a roomful of arguing adults listen up. They also demonstrate an absence of seriousness when they insert a bored Chuck watching Penny lick salt off a giant pretzel in between Melody and Rose’s peppy, pop-colored makeover montage. In essence, this happiness is further defined by cinematographer Noah Greenberg who lights it with warm golden-hour glow.
Taylor’s performance is the heartbeat of the film. She makes her face full of subtlety and within a second, she breaks hearts into pieces during painful moments and also increases it with pride for small victories in everyday life. A debutante leading woman who has cerebral palsy herself is always bubbly, sassy, genuine and fearless. She embraces vulnerability in any scene opposite DeWitt whose diverse roles in motherhood have spanned from a cheerleader nurturer in this movie to a momager character in Smile 2 alone this year. With his harried dad and husband role grounded him Kirby has brought depth as well as dimensionality but let there be crying scenes he navigates through that go beyond your usual formulae of melodrama. Aniston’s voice over work always complements Taylor never overpowering or getting ahead of the character.
“Out of My Mind” is one coming-of-age story like no other. In spite of speed bumps met along the way, the filmmakers reiterate that a person’s disability should not stall their growth or keep them from being independent.
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